This crumpled compressed mesh of mock skeletal remains in a transparent showcase goes by the lofty Latin title of Mors Certa, Vita Incerta, meaning ‘Death is Certain, Life is Uncertain.’ The use of Latin derived from Etruscan, greek and Phoenician alphabets gives the work an áncient’aura, but beyond semantics, death does not speak of the original intrinsic forms or the persona behind the shape, even if it somehow and quizzically looks shaped like a guitar and is shown in an oblong transparent showcase. The work was shown in a group exhibition in the Hong Kong Art Fair in 2012. On another tack, the work might hint at humanoids (fake humans) referred to as replicants in Ridley Scott’s 1982 sci-fi fantasy Blade Runner, and the use of the Voigt-Kampff Scale to ascertain humans from humanoids. Of mixed Chinese Javanese descent and a Muslim convert, Agus has taken part in the Yogja Biennale (2007 and 2013), Gwangju Biennale (2000), the Asia-Pacific Triennial (1996), Havana Biennale (1997), Singapore Biennale (2006). He received his MFA in Graphic Design at the Bandung Institute of Technology in 2006 after his BFA in 1979-1986. Since his first solo in Yogyakarta in 1991 (Cementi Art House), he also had three solos at Tyler Rollins in New York in 2011, 2013 and 2017. His works are collected by the Singapore Art Museum, Fukuoka Art Museum, Tokyo Metropolitan Art Museum, Saitama Museum of Modern Art (Japan), Los Angeles County Museum of Art, and the Cornell University (United States).